Carel Lodewijk Dake the Younger stands as a notable, if sometimes overlooked, figure in the rich tapestry of Dutch colonial art. Born on April 4, 1886, in Schaarbeek, Belgium, and passing away in 1946, Dake Jr. carved out a career as a painter and illustrator whose work vividly captured the landscapes, cultures, and peoples he encountered, particularly in the Dutch East Indies (now Indonesia). His artistic journey took him from the academic traditions of Europe to the vibrant, tropical allure of Southeast Asia, leaving behind a body of work that reflects both his Western training and his deep engagement with Eastern subjects.
Early Life and Artistic Foundations
Carel Lodewijk Dake the Younger was born into an artistic lineage. His father, Carel Lodewijk Dake the Elder (1857-1918), was a distinguished figure in the Dutch art world. Dake Sr. was not only a respected painter but also a professor at the prestigious Rijksakademie van Beeldende Kunsten (State Academy of Fine Arts) in Amsterdam. Furthermore, he held the influential position of chairman of the Amsterdam artists' society Arti et Amicitiae from 1892 until his death. Intriguingly, Dake Sr. was also known for his deep interest in Eastern philosophies and was reportedly a Buddhist monk, an inclination that may have subtly influenced his son's later fascination with the East.
Growing up in such an environment, it was almost inevitable that Dake Jr. would pursue an artistic path. He received his formal training under the tutelage of prominent artists of the time. Among his most significant teachers was August Allebé (1838-1927), a highly influential director of the Rijksakademie. Allebé was known for his emphasis on precise observation and traditional techniques, and his students included many who would become leading figures in Dutch art, such as Jan Veth, Richard Roland Holst, and the group of female artists known as the "Amsterdamse Joffers," which included figures like Lizzy Ansinga and Coba Ritsema. While the exact nature of his relationship with Lizzy Ansinga (1875-1959) is sometimes debated in sources, they were certainly contemporaries within the Amsterdam art scene, both having connections to Allebé and the Rijksakademie. It is also recorded that Dake Jr. himself later took on teaching roles, counting artists like Piet van Wijngaerdt (1873-1964) among his students.
His early career saw him working in the Netherlands, honing his skills as a painter and illustrator. His style during this period was likely shaped by the prevailing academic and realist traditions of his education, focusing on craftsmanship and accurate representation. He also spent some time in San Francisco, broadening his horizons before his eventual, and most defining, move to the East.
The Call of the East: Immersion in the Dutch East Indies
The early 20th century saw a significant number of European artists drawn to the perceived exoticism and vibrant cultures of colonial territories. For Dutch artists, the Dutch East Indies, with its stunning natural beauty and diverse societies, held a particular allure. Carel Lodewijk Dake the Younger was among those who answered this call, relocating to Indonesia, where he would spend a significant portion of his productive artistic life.
His work in the Indies, particularly in regions like East Borneo and, most notably, Bali, became the hallmark of his career. He immersed himself in the local environment, capturing its essence through his art. His paintings from this period often depict lush tropical landscapes, intricate temple architecture, bustling village scenes, and portraits of local people. This focus placed him firmly within the "Mooi Indië" (Beautiful Indies) school of painting.
The "Mooi Indië" style was characterized by an idealized and romanticized depiction of the Indonesian archipelago. Artists working in this vein, such as Ernest Dezentjé (1885-1972), Willem Gerard Hofker (1902-1981), Rudolf Bonnet (1895-1978), and Walter Spies (1895-1942), often emphasized the picturesque and serene aspects of the colony, creating images that appealed to both European residents and audiences back in the Netherlands. These paintings often showcased majestic volcanoes, verdant rice paddies, tranquil beaches, and graceful local figures, sometimes overlooking the harsher realities of colonial life.
Dake Jr.'s contributions to this genre were significant. His academic background provided him with a strong technical foundation, allowing for detailed and skillfully rendered compositions. He worked primarily in oils, and his canvases often featured a rich palette that conveyed the tropical light and vibrant colors of the region. His subjects ranged from sweeping panoramic views to more intimate portrayals of daily life and religious ceremonies, demonstrating a keen observational eye and an appreciation for the cultural nuances he encountered.
Artistic Style, Themes, and Representative Works
Carel Lodewijk Dake the Younger's artistic style, while rooted in European academicism, evolved through his experiences in Indonesia. He adeptly combined Western painting techniques with Eastern subject matter. His works are generally characterized by their careful composition, attention to detail, and a desire to capture the atmospheric qualities of the scenes he depicted. While part of the "Mooi Indië" movement, his work sometimes sought a deeper engagement with the cultural and spiritual life of the Indonesian people, particularly in Bali.
Among his known works, several stand out as representative of his oeuvre. One such painting is titled simply "Temple." This oil on canvas, measuring 52 x 82 cm, signed and dated, likely depicts one of the many sacred Hindu structures found in Bali. Such works often focused on the intricate carvings, the unique architectural forms of the meru (multi-tiered shrines), and the surrounding lush vegetation, conveying a sense of timeless spirituality.
Another notable piece is "View of a flamboyant tree in front of a Javanese entrance," which highlights his work in other parts of the archipelago, specifically Borneo (though the title mentions a Javanese entrance, indicating a possible broader East Indies theme or a specific architectural style found across islands). The flamboyant tree (Delonix regia), with its brilliant red-orange blossoms, is a common and striking feature of tropical landscapes, and its inclusion would have added a vivid splash of color and exotic appeal to the composition. This painting underscores his interest in capturing the unique flora and architectural elements of the region.
Beyond these specific titles, Dake Jr. was known for his numerous depictions of Balinese life. These included scenes of market days, village gatherings, traditional dances, and religious processions. The Balinese culture, with its deeply ingrained artistic traditions and vibrant ceremonial life, provided a rich source of inspiration for many European artists, and Dake Jr. was no exception. His paintings aimed to convey the dynamism and spiritual intensity of these events, often populated with numerous figures clad in traditional attire.
His work as an illustrator also formed part of his professional output, though specific examples are less frequently highlighted in art historical summaries compared to his paintings. Nevertheless, this skill would have complemented his painting practice, emphasizing strong draftsmanship and narrative clarity.
Life and Artistic Engagement in Bali: The Pita Maha Connection
Dake Jr.'s time in Bali was particularly significant. The island, already renowned for its unique Hindu culture and artistic vibrancy, became a haven for a number of Western artists in the early to mid-20th century. This community of expatriate artists played a complex role, sometimes acting as patrons and promoters of local art, while also influencing its direction to cater to Western tastes.
Carel Lodewijk Dake the Younger became associated with the Pita Maha artists' cooperative, a pivotal organization founded in 1936. Pita Maha (meaning "Great Spirit" or "Noble Ancestor") was established through the collaborative efforts of influential Balinese figures, such as Tjokorda Gde Agung Sukawati (the Prince of Ubud), and Western artists, most notably Walter Spies and Rudolf Bonnet. The primary aim of Pita Maha was to nurture and promote Balinese art, maintaining high standards of quality while also finding markets for the work, both locally and internationally. The cooperative organized exhibitions, facilitated sales, and helped to define what became known as modern Balinese art.
Dake Jr.'s involvement or association with Pita Maha placed him at the heart of this dynamic artistic milieu. This connection suggests an engagement with the evolving Balinese art scene and a desire to contribute to its recognition. Other Western artists active in Bali during this period, and who were often connected to or influenced by the same artistic currents, included Adrien-Jean Le Mayeur de Merprès (1880-1958), known for his impressionistic depictions of Balinese women and coastal scenes, and Willem Dooijewaard (1892-1980), who also painted extensively in Bali. The German artist Walter Spies, in particular, was a central figure, not only for his own unique, magical realist paintings of Balinese life but also for his profound influence on local artists and his role as a cultural interlocutor. Rudolf Bonnet, a Dutch artist, was also crucial for his work in encouraging Balinese artists and his distinctive portraiture.
However, the commercial pressures of the art market in the Indies were considerable. Some accounts suggest that, particularly during his Balinese period, Dake Jr. may have focused on producing works more rapidly to meet tourist demand. This sometimes led to criticism that some of his later output could appear more superficial or repetitive, a common challenge faced by artists catering to a market hungry for exotic souvenirs. Despite this, his overall contribution, particularly his earlier and more considered pieces, remains an important part of the "Mooi Indië" legacy.
Contemporaries and the Wider Artistic Milieu
To fully appreciate Carel Lodewijk Dake the Younger's career, it is essential to view him within the context of his contemporaries, both in Europe and in the Dutch East Indies. His teacher, August Allebé, was a towering figure whose influence extended to a generation of Dutch artists. Fellow students or artists active in Amsterdam during his formative years included the previously mentioned Lizzy Ansinga and other members of the "Amsterdamse Joffers" like Jacoba Surie and Jo Bauer-Stumpff, who, while stylistically different, were part of the same artistic ecosystem. His own student, Piet van Wijngaerdt, went on to become associated with the Bergen School, known for its expressionistic style.
In the Dutch East Indies, the community of European artists was vibrant and diverse. Beyond Walter Spies, Rudolf Bonnet, Ernest Dezentjé, and Willem Gerard Hofker, other notable names include Isaac Israëls (1865-1934), a leading Dutch Impressionist who also spent time painting in the Indies, capturing the bustling life of its cities and villages with his characteristic lively brushwork. Roland Strasser (1885-1974), an Austrian artist, also traveled extensively in Asia, including Bali, producing powerful and expressive depictions of local people. Charles Sayers (1901-1943) was another artist who, though his life was cut short, produced sensitive portrayals of Indonesian life. The aforementioned Adrien-Jean Le Mayeur de Merprès created a romantic idyll in Bali with his wife, the Balinese dancer Ni Pollok, and his sun-drenched paintings became iconic.
These artists, while diverse in their individual styles and approaches, collectively contributed to a visual record of the Dutch East Indies during the colonial era. They navigated the complexities of representing a foreign culture, often for a Western audience, and their work reflects a spectrum of engagement, from ethnographic interest and romantic idealization to deeper personal connections with the land and its people. Dake Jr. was an active participant in this milieu, contributing his own unique perspective shaped by his academic training and his personal experiences.
Legacy and Art Historical Evaluation
Carel Lodewijk Dake the Younger's legacy is primarily tied to his contributions to the "Mooi Indië" genre and his depictions of Indonesian, particularly Balinese, life and landscapes. His works are valued for their technical skill and their ability to evoke the atmosphere of the tropical East as perceived by a European artist of his time. His paintings continue to appear in art auctions, particularly those specializing in Southeast Asian or Dutch colonial art, indicating an ongoing interest among collectors.
In art historical terms, Dake Jr. is recognized as one of the many Western artists who found inspiration in Indonesia. His association with the Pita Maha cooperative, however direct or indirect, links him to a significant moment in the development and internationalization of Balinese art. While the "Mooi Indië" style has faced criticism for its often idealized and colonial perspective, it remains an important art historical category, reflecting a specific period of cultural encounter and representation. Artists like Dake Jr. played a role in shaping Western perceptions of the East Indies through their visually appealing and accessible imagery.
His work, like that of his contemporaries, offers valuable insights into the colonial gaze, the European fascination with the "exotic," and the complex interactions between Western artists and indigenous cultures. While he may not have achieved the same level of international fame as a few of his peers like Walter Spies or Rudolf Bonnet, his diverse output and consistent presence in the Indies art scene secure his place in the narrative of Dutch art in Indonesia. His paintings serve as historical documents as much as artistic creations, offering glimpses into a bygone era and a particular way of seeing and interpreting a world far removed from his European origins.
Conclusion
Carel Lodewijk Dake the Younger was an artist whose life and work bridged continents and cultures. From his academic training in the Netherlands under the shadow of his prominent father and esteemed teachers, to his immersive experiences in the vibrant landscapes and societies of the Dutch East Indies, Dake Jr. crafted a career that reflected both his European artistic heritage and his deep engagement with the East. As a painter and illustrator, he contributed significantly to the "Mooi Indië" tradition, capturing the allure of Indonesia for a Western audience. His depictions of temples, flamboyant trees, and the rich cultural life of Bali and other islands remain a testament to his artistic journey. While navigating the complexities of colonial representation and the demands of the art market, Dake Jr. left behind a body of work that continues to be appreciated for its skill, its evocative power, and its contribution to the visual history of Dutch colonial art. His story is a reminder of the profound impact that cross-cultural encounters can have on artistic expression.
